Introduction
On March 15th, 2022 I had the pleasure of attending a performance by Ballet Company X at their home theatre in Los Angeles. The program featured three works spanning different genres and styles that highlighted the talent and versatility of the dancers. The evening began with Set and Reset, a quirky contemporary ballet choreographed by Joshua Peck. This was followed by Paquita, a grand classical piece choreographed by Marius Petipa. The finale was Lakmé, a lighthearted modern ballet set to music by Léo Delibes that was choreographed by the company’s artistic director, Jennifer Stahl. Overall, it was an entertaining show that showcased both traditional and cutting edge dance.
Set and Reset by Joshua Peck
The curtain rose to reveal 5 dancers standing perfectly still in geometric formations on the brightly lit stage, marking the beginning of Set and Reset. As the quirky electronic score by Sylvan Esso began, the dancers smoothly shifted between poses that emphasized their bodylines and control. Peck’s choreography had a mechanical quality, with the dancers’ limbs extending and retracting in sync like robots. Yet there was also a playfulness to the movements as the dancers smiled and made eye contact, finding moments of humanity within the regimented steps.
What stood out about Peck’s piece was the precision and uniformity of the dancing despite its unconventional nature. The dancers executed sharp gestures and floorwork in unison, sculpting innovative shapes with their intertwining bodies. It was fascinating to watch them seamlessly transition between poses, seemingly freezing and rearranging themselves in the blink of an eye. Their technique allowed them to move as one cohesive unit while maintaining flexibility and fluidity. Set and Reset showed Peck’s innovative approach to movement and choreography, pushing the boundaries of what classical ballet can be through creative experimentation with form and rhythm. The piece was a testament to the dancers’ technical skill and artistry in bringing such an avant-garde work to life.
Paquita by Marius Petipa
After the quirky contemporary start, the mood shifted dramatically with Paquita, Petipa’s grand classical ballet set in 19th century Spain. The curtain rose to reveal an ornate stone courtyard, with dancers in vibrant costumes lined up downstage. As the overture began, soloists elegantly stepped forward to start the signature Petipa footwork. What immediately stood out was the impeccable poise and line of the dancers. Their posture was upright yet relaxed, with heads held high to show off elongated necks. Fingertips gently brushed the floor during développés to emphasize full vertical extension.
The female leads in particular had a ballerina’s grace and purity of movement that oozed elegance and femininity. Their port de bras had a swooping lyrical quality that mirrored the soaring melodies of the Delibes score. Turns were floated through with seeming weightlessness, robes flaring out dramatically. Partnering was handled with sensitivity – men supporting their ballerinas lightly yet firmly. Dynamics between couples felt nurturing and respectful rather than aggressive or dominant. The most bravura moments like grand pirouettes and elegant fouettés displayed superb control and musicality from all performers.
Notably, Paquita featured some of the most thrilling and demanding pointe work seen all evening. Ballerinas launched into tricky allegro sequences with fearless precision, maintaining perfect pointe as they zipped across the stage. Extended balances showed remarkable core strength. The piece concluded memorably with an energetic grand pas de deux that earned a well-deserved standing ovation. Watching such mastery of classical technique was hugely inspiring, reminding audiences of ballet’s timeless heritage and highest aspirations for artistic achievement. The troupe brought Paquita to life with stunning beauty and grace.
Lakmé by Jennifer Stahl
A refreshing change of pace came with Lakmé, Stahl’s lighthearted contemporary ballet set to Delibes’ evocative East Indian-inspired score. The curtain rose on a lush jungle oasis, with dancers dressed in flowing colorful costumes. Stahl’s buoyant choreography combined classical lines with theatrical flair and quirky humor. Sections like the “Flower Duet” featured melodic partnering as ballerinas lifted flowing skirts in joyous spirals. Other moments had a raucous, improvisational style as performers rolled, crawled and playfully chased each other across the stage.
This liberated sensibility allowed dancers to showcase personality alongside technique. Facial expressions and exaggerated gestures brought an engaging dramatic element absent from the precision of earlier works. Comedic timing was also on full display, such as in a scene where two male dancers vainly preened and bickered like peacocks over a ballerina. Stahl cleverly incorporated Indian dance influences into her Western-based vocabulary, merging footwork and line with nods to Bharatanatyam hand gestures and hip drops. This fusion of styles enriched the cultural flavor and kept choreography fresh and unexpected.
The dancers absolutely threw themselves into Lakmé with infectious joy and playfulness. Their enthusiasm was palpable and transferred directly to the audience. It was a complete joy to watch their liberated, natural performances embodying the carefree spirit and eclectic stylistic blend of Stahl’s visionary work. Such an uplifting piece fittingly brought the wonderful program to a celebratory close. The dancers received a standing ovation, waving and blowing kisses to the cheering crowd in the intimate theatre.
Conclusion
Overall, Ballet Company X’s Spring program was a resounding success that showcased the versatility and virtuosity of its remarkable company members. Spanning various styles from contemporary to neoclassical, the trio of works highlighted ballet’s ability to continually evolve and experiment while honoring tradition. It was hugely inspiring to witness such polished technique and artistry from the entire ensemble. Each piece challenged performers in unique ways that they rose to with apparent passion and commitment. This was top quality professional dancing of the highest calibre. Both returning patrons and newcomers alike left thrilled and looking forward to future engagements from this dynamic Los Angeles company. The show emphasized why live performance remains such a special experience that digital media cannot replicate. It was a privilege to be in the audience for such an entertaining and thought-provoking evening of dance.
Andrew Stroud